Benjamin Hulett

Credit: Hans Lebbe, HLP images


Benjamin Hulett graduated from New College, Oxford and studied with David Pollard at the Guildhall School of Music and Drama. He has sung with the Hamburgische Staatsoper, Bayerische Staatsoper, Deutsche Staatsoper, Theater an der Wien, Opera de Lille, Opera North, Teatro Real Madrid and Royal Opera House Covent Garden, at the BBC Proms, and for the Glyndebourne, Salzburg, Edinburgh and Baden-Baden festivals. He sang his first Tom Rakewell throughout France. He has performed in concert with the Los Angeles Philharmonic and Boston Symphony orchestras under Dutoit, Montreal Symphony Orchestra under Nagano, Salzburg Mozartwoche under Bolton, Berliner Philharmoniker under Rattle, and with Norrington, Haïm, Pinnock, Hogwood and Jurowski; in recital at the Wigmore Hall, and the Aldeburgh, Buxton, Oxford Lieder and Leeds Lieder festivals. His recordings have received nominations and awards from the BBC Music Magazine, Gramophone, Grammy, L’Orfée d’Or and Diapason. He made his debut at Carnegie Hall with Semele conducted by Harry Bicket and returns to the 2019 BBC Proms for Creation. Engagements for 2019/20 include his debut with the Wiener Staatsoper as Flute A Midsummer Night’s Dream, Jonathan Saul at the Chatelet Theatre Paris, Jaquino Fidelio at the Theater an der Wien and a return to Covent Garden as Tamino Die Zauberflöte.


From The Green Room


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    Handel - Acis and Galatea

    Label: Chandos

    Release Date: 01 Jun 18

    Christian Curnyn: Conductor
    Lucy Crowe: Galatea
    Allan Clayton: Acis
    Neal Davies: Polyphemus
    Jermey Budd: Coridon
    Orchestra: Early Opera Company
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    HANDEL arr. MENDELSSOHN 'Israel in Agypten'

    Label: Vivat

    Release Date: 07 Dec 16

    Conductor: Robert King

    Soprano: Lydia Teuscher
    Soprano: Julia Doyle
    Alto: Hilary Summers
    Tenor: Benjamin Hulett
    Bass: Roderick Williams

    Choir of the King’s Consort
    The King’s Consort

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    'Visions Fugitives'

    Label: Saphrane

    Release Date: 08 Mar 13

    Works by Britten and Prokoviev.

    Tenor: Benjamin Hulett
    Orchestra: 440Hz
    Concert master: Charlotte Potgieter

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    GREENE 'Spenser's Amoretti'

    Label: Naxos

    Release Date: 03 Dec 12

    Tenor: Benjamin Hulett
    Harpsichord: Luke Green
    Theorbo: Giangiacomo Pinardi

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    HANDEL arr. MENDELSSOHN 'Acis and Galatea'

    Label: Nimbus Alliance

    Release Date: 15 Oct 12

    Conductor: Stephen Darlington

    Soprano: Jeni Bern
    Tenor: Benjamin Hulett
    Tenor: Nathan Vale
    Bass: Brinkley Serratt

    Choir of Christ Church Cathedral
    Oxford Philomusica

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    HANDEL 'Alceste'

    Label: Chandos

    Release Date: 30 Apr 12

    Conductor: Christian Curnyn

    Soprano: Lucy Crowe
    Tenor: Benjamin Hulett
    Bass-baritone: Andrew Foster-Williams

    Early Opera Company

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    Label: Saphrane

    Release Date: 15 Nov 10

    Works by Lennox Berkeley, Roger Quilter, Giles Swayne, Benjamin Britten and Ralph Vaughan Williams.

    Tenor: Benjamin Hulett
    Piano: Alexander Soddy

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    ECCLES 'The Judgment of Paris'

    Label: Chaconne

    Release Date: 30 Mar 09

    Conductor: Christian Curnyn

    Soprano: Claire Booth,
    Soprano: Lucy Crowe
    Mezzo-soprano: Susan Bickley
    Tenor: Benjamin Hulett
    Baritone: Roderick Williams

    Early Opera Company

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    01 Nov 19 Mozart: Die Zauberflöte
    Royal Opera House, London

    “The cast is entirely new, and it’s led by a British tenor who is now deservedly moving centre-stage in London after a long apprenticeship in Germany. Benjamin Hulett’s sound is simply glorious – rich, rounded, warm, and expressive – and he incarnates Prince Tamino as though born to the part.”
    Michael Church, The Independent, 3 November 2019

    Benjamin Hulett, an admirable Tamino, floating an easy, shapely tenor line
    George Hall, The Stage

    Benjamin Hulett’s ringing Tamino is fervently and cleanly delivered
    David Truslove, Opera Today

    “Young British tenor Benjamin Hulett brings power and richness to the princely Tamino, his voice absolutely defining the character as heroic.”
    Johnny Fox, Londonist, 05 November 2019

    “British tenor Benjamin Hulett’s Tamino was fresh and lyrical, and one sensed his journey of self-discovery through both his singing and his acting.”
    Matthew Rye, Bachtrack, 05 November 2019


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    02 Oct 19 BRITTEN: A Midsummer Night's Dream
    Wiener Staatsoper, Vienna

    “The sextet of Mechanicals, here clad as workers, in coveralls and makeshift costumes, emerged as three-dimensional comedic figures during the final act, not an easy task. Comedy is difficult, but Wolfgang Bankl (Quince), Benjamin Hulett (Flute), Thomas Ebenstein (Snout), Clemens Unterreiner (Starveling) and William Thomas (Snug) were both vocally and physically charming. Ebenstein, fabulously camp in his role during the play-within-the-play as “Wall”, and Hulett’s cross-dressing appearance as Thisbe were highlights. Likewise Peter Rose’s portrayal of Bottom, which was consistently effective vocally and physically, and occasionally very funny indeed. Applause as well is due the masses of young boys plucked from the opera school and transformed into shimmering fairies. They managed choreography beyond their years and negotiated Britten’s less-than-straightforward vocal requirements admirably.”

    Chanda VanderHart, Bachtrack, 10 October 2019




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    29 Jul 19 BBC Proms, Hadyn: The Creation Omer Meir Wellber, BBC Philharmonic Orchestra
    Royal Albert Hall, London

    “Tenor soloist Benjamin Hulett, as archangel Uriel, was suitably radiant for Haydn’s glorious sunrise and the creation of the moon and stars, a celestial introduction to the favourite chorus “The Heavens are Telling”…”

    Stephen Pritchard, Bachtrack, 30 July 2019


    “All three solo singers treated the performance with obvious respect and dedication.

    Tenor Benjamin Hulett is well versed in baroque/classical style and has admirable technique (and lung capacity) at his disposal. His bright tenor voice was perfect for his first entry ‘Und Gott sah das Licht’ (‘And God saw the light’) and he astonished me in his first aria ‘Nun schwanden vor dem heiligen Strahle’ (‘Now vanish before the holy beams’) by holding his long notes with perfect mastery while effortlessly producing the crescendo and decrescendo baroque effect on a single note. This style of delivery was repeated in other relevant tenor solos throughout the performance. On the single word ‘Harmonie’ (in Uriel’s accompanied recitative at the start of Part III), Hulett produced numerous tonal colours: it was as beautiful as breath-taking.”

    Agnes Kory, Seen and Heard International, 30 July 2019


    “Tenor Benjamin Hulett delivered his arias with ease, elegance and fervour.”

    Tim Ashley, The Guardian, 30 July 2019

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    07 Jul 19 Georgiana
    Buxton Festival

    “Benjamin Hulett was cast as the Duke of Devonshire, the self-righteous, husband of Georgiana and then Lady Bess. In his opening aria, “I deserve to be respected,” he gave clear indication as to his character, as he raged against Georgiana’s behaviour; his voice laced through with anger and frustration, he demanded she keep to her wedding vows, and provide him with a male heir!

    In his second aria, “You bring me pain and never ending scandal” he again rages at Georgiana, this time because she is pregnant to Lord Grey; in another forceful presentation Hulett vented his anger, in a powerful, forceful outburst in which the clarity and versatility of the voice impressed. His indignation was unaffected by the fact that he had his own illegitimate children.”

    Alan Neilson, Operawire, 15 July 2019


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    14 Apr 19 Handel: Semele English Concert, Harry Bicket
    Carnegie Hall, New York

    “More than once Benjamin Hulett’s timbre recalled Anthony Rolfe Johnson’s – it flows in a simmilar fasion, though its conours are more athletic – and his Jupiter radiated golden-boy confidence until he realized he would cause Semele’s destruction.
    Yehuda Shapiro, Opera Magazine

    “Handel’s choice of a tenor Jupiter – and one with a not-very-high tessitura at that – definitely grounds the god, and Benjamin Hulett did the correct amount of strutting, Frank Sinatra style (jacket hooked over his shoulder), and offered a good sized voice, with easy coloratura.“

    Robert Levin, 15 April 2019, Bachtrack

    “This is the kind of complex quartet Mozart would later master. In a boldly operatic touch, Jupiter (the rich-voiced tenor Benjamin Hulett) renders his verdict about the impending marriage by sending down thunder and fury, captured in the orchestra with pummeling drums and registered in chorus with terrified exhortations.”

    Anthony Tommasini, 15 April 2019, The New York Times

    “With his elegant tenor, Benjamin Hulett made Jupiter a lover, a manipulator (the famous “Where’er you walk” was clearly his ploy to enchant Semele and distract her from her ambitions), and finally, a truly regretful destroyer.”

    Heidi Waleson, 15 April 2019, Wall Street Journal

    ‘Benjamin Hulett played Jupiter as a rakish, all-powerful dandy, sporting a rich caramel tenor… his singing was gorgeous, a warm voice of medium weight with a hint of shine on the top, which he showed off in the sighing aria “Where’er you walk.”’

    Eric C. Simpson, 15 April 2019, New York Classical Review

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    05 Apr 19 Handel: Semele English Concert, Harry Bicket
    Barbican Centre, London

    “Benjamin Hulett was a dashing and, paradoxically, very ‘human’ Jupiter, evincing real flesh-and-blood ardency and compassion. In Act 2 Jupiter has three very different arias in close succession and Hulett was master of them all. The long, long line he crafted in ‘Lay your doubts and fears aside’ attested to both courage and an excellent breathing technique, while ‘I must with speed amuse her’ was agile and accurate. ‘Where’er you walk’ resonated with genuine feeling.”

    Claire Seymour, 06 April 2019, Opera Today

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    03 Apr 19 Handel: Semele English Concert, Harry Bicket
    Théâtre des Champs-Élysées, Paris

    “The dissolute deity Jupiter was sung with ravishing dolcissima by English tenor Benjamin Hulett.  Whilst musically flawless, the sweet timbre of the voice somehow doesn’t quite fit the persona of a selfish serial fornicator. Admittedly Jupiter has been sung by similar lighter tenors such as Robert Tear and Anthony Rolfe Johnson, but the metal Rockwell Blake injected into passages such as “By that tremendous flood, I swear” in Carnegie Hall in 1985 was clearly closer to the character.

    That said, Hulett brought an exquisite cantilena and superb phrasing to “Where’ere You Walk” which was sung exactly “largo e pianissimo per tutto” as marked. The notes around G-natural are particularly pastel in Hulett’s pristine vocal palette and the ornamentation in the da capo was the epitome of subtle refinement. Despite the sensitive but decidedly un-schmaltzy accompaniment by the English Concert, the most famous aria from “Semele” received no applause from the pernickety Parisians.

    Jupiter’s opening “Lay your doubts and fears aside” had an easy triple time lilt and seductively smooth roulades, reaching comfortable A-naturals – even if the line “Love and I are one” can hardly be sung with modesty. Hulett’s splendid word coloring in “Why sighs my Semele?” was as impressive as Jupiter’s testosterone levels whilst the three-bar roulades on “explain” and “complain” in “I must with speed amuse her” were immaculately sung. “Come to my arms, my lovely fair” was touching in its affection, even if Jupiter is in fact a shameless fornicator. Similarly the accompanied recitative “She must a victim fall” was palpably tender, despite the oversexed deity merely contemplating to make his fatal lightning bolts only mildly incendiary.”

    Jonathan Sutherland, 13 April 2019, Opera Wire

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    07 Sep 18 Handel: Theodora Arcangelo, Jonathan Cohen
    BBC Proms, Royal Albert Hall

    Benjamin Hulett made an outstanding Septimius: Descend, Kind Pity, noble in its eloquence, was one of the evening’s real high points…
    Tim Ashley, The Guardian

    …the ever-superb Iestyn Davies and Benjamin Hulett as Didymus and Septimius…
    Michael Church, The Independent

    Hulett’s delivery of “Descend, kind pity” gave particular pleasure.
    Rupert Christiansen, The Telegraph

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    01 Jun 18 MOZART Die Zauberflöte
    Garsington Opera

    “Benjamin Hulett gives us the most forcefully-sung Tamino we have heard in years”
    Michael Church, The Independent, 02 June 2018

    “Benjamin Hulett’s clean-edged Tamino”
    George Hall, The Stage, 01 June 2018

    “Hulett is in radiant voice”
    Mark Valencia, What’s on Stage, 01 June 2018

    “Hulett’s voice has a heroic ring”
    Richard Bratby, The Spectator, 09 June 2018

    “…this is as strong a cast as Garsington has ever fielded…[Louise Alder’s Pamina] finds her match in Benjamin Hulett’s Tamino. Heroic of voice and presence (no crooning for his “Dies Bildnis”), he’s no fey princeling – a match if ever there was one for James Creswell’s luxurious Sarastro.”
    Alexandra Coghlan, The Arts Desk, 01 June 2018

    “Benjamin Hulett’s muscular tenor made him a more heroic Tamino than usual, “Dies Bildnis ist bezaubernd schön” ardent in tone”
    Mark Pullinger, Bachtrack, 01 June 2018

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    21 Jul 17 BEETHOVEN Fidelio
    BBC Philharmonic/Juanjo Mena at the BBC Proms

    The fresh voiced tenor, Benjamin Hulett, was ideal for the lovelorn Jaquino.
    Jim Pritchard, Seen and Heard International

    As Jaquino, Benjamin Hulett was a vocally attractive partner for Alder and he imbued the spoken text with sensitivity and dignity. His opening duet with Alder, ‘Jetzt Schätzchen’ (Yes, sweetheart), made for an effectively sunny contrast to the Hadean depths of Florestan’s underworld to come.
    Claire Seymour, Opera Today

    Alder added fantasy and mystery in Marzelline’s ‘O wär ich schon’, and Hulett countered her divided loyalties with Jaquino’s irresistible charm.
    Peter Reed, ClassicalSource

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    01 May 17 CAVALLI Hipermestra
    Glyndebourne Festival Opera

    Benjamin Hulett (Arbante), Ana Quintans (Elisa) and Renato Dolcini (Danao) were excellent…
    Fiona Maddocks, The Guardian

    Arbante, whose rejection by Hipermestra causes him to lie to Linceo about her faithlessness, was strongly sung by Benjamin Hulett.

    Benjamin Hulett and Alessandro Fisher sang strongly as Arbante and Delmiro.
    Richard Fairman, Financial Times

    Benjamin Hulett, Renato Dolcini and Anthony Gregory make the attendant tyrants and courtiers vivid.
    Rupert Christiansen, The Telegraph

    Benjamin Hulett added yet another role to his impressive Glyndebourne list as Arbante
    Melanie Eskenazi, MusicOMH

    As the loyal general Arbante, tenor Benjamin Hulett confirmed his growing reputation.
    Mark Valencia, WhatsOnStage

    Benjamin Hulett’s Arbante burns with Iago-like duplicity: the tenderness of his voice belies Arbante’s villainy.
    Claire Seymour, Opera Today

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    06 Jan 17 HANDEL Messiah
    RTE National Symphony Orchestra of Ireland

    “The evening’s star soloist was tenor Benjamin Hulett, who sounded at all times as if he owned the music, and his every last word mattered.”
    Michael Dervan, The Irish Times

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    12 Aug 16 BRITTEN A Midsummer Night's Dream
    Glyndebourne Festival Opera

    “Benjamin Hulett a lyrical and impassioned Lysander”
    Alexandra Coghlan, The Arts Desk, 12 August 2016

    “the quartet of lovers – Kate Royal and Elizabeth DeShong as Helena and Hermia, Benjamin Hulett and Duncan Rock as Lysander and Demetrius – were a delight”
    Rupert Christiansen, The Telegraph, 12 August 2016

    “The four lovers – Duncan Rock (Demetrius), Elizabeth DeShong (Hermia), Benjamin Hulett (Lysander) and Kate Royal (Helena) – rise splendidly to the challenge of their roles, nowhere more so than in their exquisite quartet of reconciliation.”
    Barry Millington, The Stage, 12 August 2016

    “Benjamin Hulett’s lyric tenor was the perfect fit for gentle Lysander”
    Mark Pullinger, Bachtrack, 12 August 2016

    “Benjamin Hulett ramped up Lysander’s ardour magnificently.”
    Peter Reed, Classical Source, 11 August 2016

    “[Hermia] was ably partnered by Benjamin Hulett’s sweet-toned Lysander – good to see him fulfil the promise he’d shown in last season’s Saul”.
    Melanie Eskenazi, Music OHM, 14 August 2016

    “Elizabeth DeShong’s spirited Hermia and Benjamin Hulett’s confident Lysander make an excellent pairing.”
    Richard Fairman, The Financial Times, 14 August 2016

    “The lovers are nicely defined, Benjamin Hulett’s easy-going Lysander contrasting with Duncan Rock’s impetuous Demetrius.”
    Clare Colvin, Express, 24 August 2016

    “Benjamin Hulett made a likable Lysander, fluid and springy of voice.”
    Yehuda Shapiro, Opera, October 2016

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    04 Mar 16 RAVEL L'heure Espagnole
    Symphony Hall, Boston

    “Benjamin Hulett exhibited quite a splendid romantic tenor as the loquacious poet Gonzalve”
    David Wright, Boston Classical Review

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    08 Dec 15 LEONCAVALLO I Pagliacci
    Royal Opera House, Covent Garden

    “Benjamin Hulett turned the relatively small role of Beppe into a major one and sang effortlessly”
    Keith McDonnell, Music OMH

    “Praise, too, for Benjamin Hulett”
    Fiona Maddocks, The Observer

    “Benjamin Hulett’s lyrical Beppe was a great pleasure”
    Peter Reed, Classical Source

    “Benjamin Hulett makes a predictably sweet-toned Beppe”
    Michael Church, The Independent

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    16 Nov 15 HANDEL Saul
    Glyndebourne on Tour

    “…Benjamin Hulett’s Jonathan, warm, bewildered and torn”
    Fiona Maddocks, The Observer

    “…tenor Benjamin Hulett is excellent as Saul’s son Jonathan.”
    Clare Colvin, Express

    “Benjamin Hulett makes an attractive and lyrical Jonathan”
    Goerge Hall, The Stage

    “Benjamin Hulett not only sang mellifluously – a very fine ‘Birth and fortune I despise’ – but also encapsulated Jonathan’s confusion, torn between loyalty to his father and an almost homoerotic attraction to the outsider, David.”
    Mark Pullinger, Bachtrack

    “Saul’s son Jonathan was given a very fine performance by Benjamin Hulett, who had impressed us in the smaller roles of High Priest / Abner / Amalekite in the Festival; this is a real Handel tenor, capable of impressive agility and ease of articulation as well as the warmth of tone needed for Saul’s compassionate son.”
    Melanie Eskenazi, Music OMH

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    27 Jul 15 HANDEL Saul
    Glyndebourne Festival Opera

    “Magnificent performances have been drawn from the entire cast. … Benjamin Hulett is vibrantly robust of voice as a deformed court jester impersonating multiple roles in the story.”
    The Telegraph, Rupert Christiansen, 24 July 2015 

    “Benjamin Hulett was truly brilliant as the new fool-like character, welding his sequence of almost random arias into a clear role and having an omnipresent theatrical effect which gave a strong counterpoint to the drama. … His interventions, and arias sung to the audience brought a real feel of extra commentary to the drama and his music performance was spot on and certainly showed him ready to take on larger roles.”
    Opera Today, Robert Hugill, 24 July

    “Musically this evening is well-nigh flawless. No praise too high for the singing of Davies, Appleby, and Purves; of Lucy Crowe and Sophie Bevan as Merab and Michal respectively, and of Benjamin Hullett as a cross between a clown and a soothsayer.”
    The Independent, Michael Church, 24 July 2015

    “…there are fine performances from Paul Appleby as Jonathan and Benjamin Hulett, who conflates the roles of Abner, Doeg and the High Priest into a king’s fool.”
    Financial Times, Laura Battle, 26 July 2015


The Tempest Ferdinand

Fidelio Jaquino

Lucio Silla Lucio Silla

Billy Budd Novice
Curlew River Madwoman
A Midsummer Night’s Dream Flute, Lysander
The Turn of the Screw Peter Quint

Alcina Oronte
Rodelinda Grimoaldo

Phaedra Hippolyt

Die Besessenen Lesczcuk

L’incoronazione di Poppea Arnalta, Lucano

Così fan tutte Ferrando
Don Giovanni Don Ottavio
Idomeneo Arbace
Die Zauberflöte Tamino

La Pietra del Paragone Giocondo

The Rake’s Progress Tom Rakewell

Salome Narraboth
Elektra Junger Diener
Die Frau ohne Schatten Die Erschienungs eines Jünglings

Der fliegende Holländer Steuermann

Please contact Jonathan Turnbull for concert repertoire.